Rotating performance stage

ABSTRACT

A theater area includes audience seating that faces outwardly in an “inverted-theater-in-the-round” arrangement towards a ring-shaped performance stage. The performance stage is designed to rotate around the audience area so that each section of the audience can see each part of the stage at different times.

CROSS-REFERENCE TO RELATED APPLICATIONS

This application claims the benefit of priority to U.S. ProvisionalApplication No. 61/766,567, filed Feb. 19, 2013, the entire contents ofwhich are incorporated by reference herein and for all purposes.

SUMMARY OF THE DISCLOSURE

Described herein is a performance stage that encircles an audience area.The performance stage includes a ring-shaped performance platform. Theperformance stage includes a structure supporting the platform. Betweenthe platform and the support structure, the stage includes a movementmechanism, (e.g., including rollers and timed automation), which isdesigned to move the performance platform in a circular movement patternacross the support.

In another embodiment, an example theater area includes anoutward-facing audience area and a performance stage encircling theaudience area. In the example theater, the audience area may besupported on audience platforms and may be able to rotate around insidethe performance stage.

In another embodiment, an example method for using a ring-shapedperformance stage surrounding an audience area involves positioningperformance elements (e.g., performers, scenes, etc.) around the stagein a way that allows different parts of the audience to see differentperformance elements. The method also involves rotating the stage (orthe downstage half of the stage) around the audience area so that eachperformance element is sequentially viewable and non-viewable to eachsection of the audience.

The foregoing is a summary and thus by necessity containssimplifications, generalizations and omissions of detail. Consequently,those skilled in the art will appreciate that the summary isillustrative only and is not intended to be limiting. Other aspects,inventive features, and advantages of the various elements, devices,and/or processes described herein will become apparent in the detaileddescription set forth herein and taken in conjunction with theaccompanying drawings.

BRIEF DESCRIPTION OF THE FIGURES

FIG. 1 is a layout design of a theater embodiment that uses an exampleperformance stage.

FIG. 1B is a layout design of an exemplary venue with moveable seating.

FIG. 2 illustrates elements of an example performance stage within anexample theater as seen from above.

FIG. 3 shows steps of an example process for using the rotating stage.

FIG. 4 is an example arrangement of performers (as “stars”) and displayscreens around the stage in the theater area of FIG. 2.

FIG. 5 shows steps of an example process for using the rotating stage.

DETAILED DESCRIPTION

Referring generally to the figures, a performance stage for anentertainment venue is described herein along with systems and methodsfor use in implementations of the described stage. In an exemplaryembodiment, the venue may include a contiguous immersive display screen(IDS) occupying substantially the entire visible surface area of thetheater which encases the audience (Standing Room and seating areas forGA and VIP guests), and separate display screens for presenting video orgraphics to an audience. The venue may be designed such that thestage(s) and screens are positioned around the outside of an audiencearea. Because the stage/screens may encircle the audience, thisarrangement may be considered an inversion of the “theater-in-the-round”design (in which the audience surrounds a stage). In an exemplaryembodiment, the entirety of the stage may be movable around theaudience, and/or the entirety or portions of the seated audience areamay be movable within the area circumscribed by the stage, so thatdifferent sections of the audience (or guests) are provided withdifferent views of the performers, from different angles at differenttimes. Additionally, some screens or display surfaces may be moveablearound the audience. In some architectures, a toroidal screen mayenclose the audience area, providing an IDS. By combining live anddisplayed presentations, the venue may provide an immersive guestexperience, among other advantages. The combination of live performanceareas, open audience areas, and immersive screens also provides a venuethat can be suited to diverse forms of entertainment. Many otherfeatures and advantages of the performance stage will be described inthe following sections.

The following description is divided into three sections: (1) ExampleEnvironment for a Stage, (2) Stage Design and Implementation, and (3)Modes of Use. The environment section describes the physical design andlayout of an example venue and theater within the venue that may housethe performance stage. The stage design section describes some of thesystems, techniques, and devices that are used to facilitate the stage'sfunctions. The modes of use section describes a few of the novel waysthat an exemplary stage may be used. Additional information anddisclosure regarding the venue, audio, and display technology that maybe used in combination with the embodiments disclosed herein may befound in copending U.S. application Ser. No. ______ (entitled“Entertainment Venue And Associated Systems/Methods”), U.S. applicationSer. No. ______ (entitled “Immersive Sound System”), and U.S.application Ser. No. ______ (entitled “Compositing Screen”), which areincorporated herein by reference.

Environment for the Stage

FIG. 1 shows one embodiment of an entertainment venue 100. As shown,venue 100 includes a dome-shaped exterior 102 over a torus-shapedinterior structure 104 that encloses a theater area 106. Theater area106 includes various levels of audience standing 108A and seating 108B,a stage 110 with supporting structure 112, multiple robotic screens 114Aand 114B, and one circular, contiguous crow's nest 116. Although twosecondary screens are shown in FIG. 1, any other number of screens maybe used. In one embodiment, for example, as many as twenty-fouradditional robotic screens may be used.

Since the interior structure 104 and enclosed theater area 106 aretoroidal in shape, FIG. 1 shows theater area 106 (along withcorresponding portions of standing 108A, seating 108B, stage 110, andsupports 112) in two segments. In an example embodiment, the arrangementof interior structure 104, theater area 106, standing 108A, seating108B, and stage 110 may continue around the circumference of thetoroidal shape, with secondary screens placed at intervals around thestage (e.g., up to 12 different robotic screens). The robotic screenscan either be attached to the base of the stage or moved independent ofthe stage on their own track or tracks, which may be attached to theinternal shell structure or attached to the rear (upstage) portion ofthe stage. As will be described in the following sections, variousalternative embodiments may include fewer, additional, or differentelements than the arrangement shown in FIG. 1.

Among other advantages, the venue design supports many different usesand combinations of events without requiring extensive preparations. Forexample, the same theater area may present a live lecture in theafternoon, show a movie in the evening, or a live concert performance,and then transform into a nightclub after-hours, without the need forsignificant “change over” between events. As another example, the venuemay be used for a combination of events, such as a nightclub with astage or DJ show, a movie that is complimented with a live concert (orpre-recorded concert), and/or another live stage performance orperformances. Additionally, the inverted-theatre-in-the-round seatingarrangement, and the close proximity of the audience to the stage(versus a conventional stage/seating arrangement), creates a moreintimate, engaging, one-on-one experience.

I. Exterior Enclosure

One embodiment of an external enclosure is a “dome” shaped shellenclosing the indoor toroidal enclosure and various theater features ofthe entertainment venue. FIG. 1 shows such an implementation, in whichthe exterior shell is in the shape of an ellipsoid. Other exampleembodiments could include spherical, hemispherical, rectangular, cubic,pyramid shaped, toroidal, conical, or other shape of exteriorenclosures. In some cases, the implementation of the shell exterior maybe supported separately from the display screen to handle various loads,such as wind loads that will not be a requirement for the internalenclosure. In other implementations, the display screen and exterior maybe supported by connected rigging to the interior structure, as afunction of load support or stationary support. Structural supports forthe exterior ellipsoid or internal torus, the display screen, rearscreens (if applicable), speakers, lighting, A/C, heat, ducting, riggingand more may include various internal framing components, framingsupport and/or external super-structural components.

Although FIG. 1 shows enclosure 102 housing a single theater area 106,an example entertainment venue may include multiple theater areas (e.g.,multiple viewing areas with similar or different content, within thesingle theater). Each respective theater area, if separated, may includeits own display screens, performance stages, and/or other features tofacilitate all entertainment activities.

II. Audience Area

An audience area may be provided inside any of the theater areas. Asshown in FIG. 1, the audience area may include a standing room area(SRO) 108A and various seating areas 108B for audience members of bothGeneral Audience (GA) or (VIP) areas. The audience area may also includeopen spaces or non-obstructed spaces to be used interchangeably inaccordance with particular entertainment events. For example, open areasmay be used as dance floors, orchestra pits, security zones, theatricaldisplays, non-permanent seating additional stage areas (such as trusses,jets), additional lighting or sound rigs, pyrotechnic or lightingdisplays, smoke, smog, live actors or stage performers, among otherexamples. In some embodiments, the entire audience area may rotateeither in lieu of, or in combination with, the actual stage rotating. Inanother embodiment, select audience areas may contain motion seats.

In an exemplary embodiment, the audience seating 108B may face outwardfrom a central area of the theater. In some embodiments, each seat maybe oriented in a direction facing away from a central point. In otherembodiments, rows of seats may face substantially outward although eachindividual seat may not face directly outward. In still otherembodiments, seat direction may be changeable, movable orinterchangeable, or entire sections may be changeable, movable, orinterchangeable. For example, seats may be able to rotate, or have somedegree of motion (a third sensory element—movement).

Seats with changeable orientation may freely rotate, allowing theaudience to turn their own seats during an event, or the orientation ofthe seats may be changeable by technology or programming to facilitatedifferent events. For instance, to prepare for a show in which theaction takes place on a central active area of the stage, seats may faceor move to the active area of the stage, or mirror the actions of thecontent, live performance or other rather than move in one specificdirection. In some implementations, the entire platform, or partialsections of the platform, upon which the seats rest could move.

Although many example embodiments in the disclosure present a theaterarea in which a circular stage surrounds an outward-facing audience, atheater of the present invention can alternatively be configured to havethe audience face inward towards a circular center stage. The seating,comprised of concentric rings, can be made to face inward, and rake upfrom the center, by lowering the center rings on which the circular rowsof seating reside, and raising the outer rings. In the fashion, thevenue can be easily and quickly converted to accommodate either seatingconfiguration. These moving concentric rings (each of which is flat, andmay house one or more rows of seating) can also be rotated, and moved upand down in synchronization with the projected imagery to enhance theaudience experience with engagement of a third sense (motion), inaddition to sight and sound.

FIG. 1B shows an example venue arrangement including such movableseating areas. As shown in FIG. 1B, a venue 150 may include a theaterarea 152 including two stages 154 (outside stage) and 156 (insidestage). In other embodiments, a single stage may be used at one time.Also as shown in FIG. 1B, the audience-seating platform 158 (or multipleplatforms) may be mounted on movable supports 160. Such supports mayinclude lifting/lowering mechanisms to control the height of individualsections of the seating. In this way, the seating may change from rakingoutward to raking inward in order to present different types ofperformance/visual presentations.

The audience seating may include any or all of four main sections: i) aGA (general admission) in which the audience stands (this may encirclethe seated audience members and make them feel immersed in partyenvironment); ii) a seated section configured with inverted (i.e.,convex) banquette style seating (without armrests or separation betweenseats. These seats may face seatbacks of the row in front of them with arecessed bar/counter for drinks, food, etc., creating a loungeenvironment; iii) chaise style reclined couches and seating, surroundedon three sides with 3 foot high open and closable fabric walls, suchthat when reclined, the audience member(s) may have a degree of privacy;and iv) VIP booths at the top, each surrounded by 6 foot high glass withopen and closable fabric walls, each booth outfitted with chaises,couches, coffee tables, and other such furnishings. The VIP section mayhave a common bar area in the center (the center of the venue), and mayhave a common balcony surrounding and connecting all the VIP booths.Each aforementioned level of seating may be successively more private,spacious, luxuriously appointed, and expensive. All may have the abilityto access and order food and beverages. The overall effect of thecombined seating program may to meld the atmosphere of a club or loungewith the exhibition of a show and/or movie, creating a novel hybridevent.

III. Display Screens

FIG. 1 shows two example categories of screens that an exemplary venuemay include theater screens (toroidal screen 106) and secondary screens(robotic screens 114A and 114B). Different embodiments may include othertypes, layers, and numbers of screens. For example, some embodiments mayinclude only a theater screen but no secondary screens. As anotherexample, multiple theater screens may also be used throughout the singletheater area, and come together as one image via a “raid”. Otherexamples of display systems for both the front and rear screens mayinclude: Front or rear projection, LEDs, laser projection, ASD LEDs, ASDfront projection, holography, 3D “ghosting” or full 3D effect (e.g.Pepper's Ghost or a Steinmeyer illusion).

In addition to theater screen 106, secondary display screens such as114A and 114B may also be included in an example theater area. In someembodiments, secondary screens may be smaller than theater screens andmay be provided in front of the theater screen(s). Some secondaryscreens may be stationary. Other secondary screens may turn and movearound a fixed support structure. Some of the secondary screens may beattached to 5 to 7 joint robotic arms. For example, a supporting arm forthe secondary screens may include 180 degree to 360 degree pivotingfeatures, allowing the screen some full motion. Some secondary screensmay also be able to change position around the theater area, eitherfreely across the entire theater area or in designated areas. Othersecondary screens may be housed in quadrants or slices of the theater,for example, to come together in “raids” or function as separatescreens. The support system of the secondary screens may attach to asliding track that facilitates movement of one or more screens acrossthe face of the theater wall or theater screen. The support system mayor may not be mounted to the base of the movable performance stage 110.To produce such movements, servos and motors may also be included in thescreen support or in the track system.

In some cases, the secondary screens may be controllable by automated orcomputerized control systems. For example, a screen may be supported onthe end of a robotic arm so that the screen direction and position maybe controlled as the arm is controlled. As another example, a secondaryscreen may be mounted on an automated conveyor so that the screen ismovable along the length of the conveyor. A display that is movablethrough control circuitry and/or processors may be considered a roboticscreen or a computer-driven screen.

Instead of, or in addition to, the secondary screens, a theater mayinclude holographic, Steinmeyer illusion, and/or pepper's ghostapparatuses as a means of “image propagation” by which a live performerwho is performing on a portion of the stage which is not presently infront of a given audience segment, may be seen virtually by thataudience segment via holographic cannons or other 3D generatingtechnology or devices.

Instead of, or in addition to, the secondary screens, and/orholographic, Steinmeyer illusion, and/or pepper's ghost apparatuses, atheater may include tertiary screens located in the audience area 108B,on the backside of the seat headrest (or directly above the headrest ateye level, in front of an audience member viewing it).

IV. Audio Systems

To facilitate using the entertainment venue, a variety of supportingsystems may also be included. Some supporting systems are describedherein with regard to features that are not used in a typicallive-theater setting while others are not specifically mentioned by nameor described herein. Other systems and structures may also support theentertainment venue; but those may be obvious to persons of skill in theart. In some embodiments, processing of both audio and video feedsand/or equipment may be run under the stage or audience.

Audio systems may be provided in an exemplary theater area. Audio inputdevices may be provided to support sounds associated with liveperformances. For example, musical acts may use input devices to capturevoice and instrument sounds. As another example, stage acts may usemicrophones to capture on-stage voices and sound effects. Audio outputdevices may output these captured sounds and other audio associated withlive performances or video displays.

Audio output devices, such as speakers, may be provided in any ofvarious locations inside or outside of the theater area, and speakersmay be existing or new technologies, or a mix of both for this specificvenue. For example, speakers may be provided on or around the stagearea, around the secondary display screens, and/or under and around theaudience area. Moreover, in some cases, individual speaker systems maybe provided within the audience seating area (e.g., chair-mountedspeakers). In some embodiments, speakers may be provided behind orwithin the theater screen.

Stage Design and Architecture

I. Performance Stage

One or more performance stages may be provided in each of the venue'stheater areas, as opposed to one continuous stage. As shown in FIG. 1, aperformance stage may include a rotating ring-shaped stage encirclingthe audience area 110. The stage 110 may also be split in itself, whereone-half of the stage (as in front and back) may rotate, where the otherhalf may remain stationary, creating different visual effects, giving aseparate platform to lay track for the independently moving secondaryscreens, and affording stage lifts the ability to operate under andthrough the stationary portion of the stage, while the moving portion ofthe stage is in motion. As another example, theaters which are notcircularly symmetric may include stages that fit to the particulargeometry of the room such as cubic or square shaped. In a theater areawith more than one performance stage, the multiple stages may includevarious types of stages in addition to, or instead of, multipleinstances of one type of stage.

In some embodiments, a movable performance stage may be used. Forexample, ring-shaped performance stage 110 may be designed tocontrollably rotate around the outside of theater area 106 or standstill. This movement may be uniform in speed or changeable. For example,stage 110 may either continuously move throughout the performance orstop periodically so that portions of stage 110 are directly in front ofparticular audience sections. The motion of the stage can besynchronized with the projected visuals so as to cause the audience tofeel that it is they who are moving. The stage can also speed up or slowdown, depending on need. In other embodiments, a performance stage maybe designed to move vertically or into/away from the audience area, suchas the front two thirds of the stage extending into the audience wherethe back third remains motionless.

The speed and pattern at which a performance stage moves may be chosenbased on various factors. For instance, the typical speed and patternmay be dictated by industry standards, labor standards, technicalconsiderations, and/or theater dimensions. Additionally,performance-specific movements may be chosen in accordance with, forexample, audience preference, preference of performers, directorchoices, and/or audience arrangement. As an example of anaudience-arrangement-based decision, when portions of the theatercontain no audience, the movement pattern may be selected to avoid theseportions.

II. Stage Supports

To support movement of a performance stage, moving stage supports may beprovided beneath the stage. Mechanical supports may include, forinstance, conveyors, rollers, conveyor belts, sliding elements, wheels,rollers, motors, gears, tracks, elevators, hydraulic systems, and maglevsupports. The supports may be controllable by, for instance, manualcontrols, computer applications, remote controls, and/or stored controlroutines. For example, stored pre-created routines may include themovement patterns to use throughout a performance. In such animplementation, the stored routines may be executed at the start, middleor end of the performance to cause the stage to begin an intendedmovement pattern or spontaneous patterns throughout.

Other control mechanisms may also facilitate performance stage movement.In practice, safety controls may provide resources for slowing orstopping the motion of the stage in response to receiving alarmindications from sensors. For example, an audio or visual alarm mayindicate that a performer or “setpiece” is off, or partially off, thestage. In response to detecting that something is moving or has movedon/off the stage, the controls may slow or stop the movement. In somecases, the controls may slow or stop the movement before a performer orprop goes over the edge of the stage. In particular, a controller maydetect the distance between the object and the edge and slow stagemovement in proportion to the detected distance. Likewise, sensors maydetect the distance between the edge of the moving stage andobjects/people on the stationary areas around the stage, to help preventinjuries.

To further prevent injuries, there may also be a protective raise thatbecomes active in response to determining that a performer is too closeto the edge of the moving stage (or too close to an area of the stagethat is not moving at the rate of the performer). This raise may followthe stage extensions if the stage moves forward and backward, as opposedto side-to-side. Furthermore, the movement controller may slow the stagein preparation for a stage entrance, exit, or collision. Such movementchanges may also be determined by the proximity of the performer to thestage edge. As another example, an alarm may indicate that a microphoneor speaker has moved to a position that is likely to cause audiofeedback. As still another example, an alarm may indicate that a stageprop is blocking an emergency exit from the stage or safety equipment.In response to detecting that something or someone on the stage is notin a safe location, the movement controller may ensure that the stagemoves to an orientation where the misplaced person or thing is betterpositioned.

In addition to safety sensors, sensing devices may also be used as stagecues to allow control systems to automatically detect when movementpatterns should change, rather than relying on operators. For example, aperformer who wishes to leave the stage during a performance and returnto the stage later in the performance, may desire that the stage remainsstationary until the performer returns. In this case, some of themovement of the stage may be pre-programmed and also controlled by acontroller who may pre-program the stage to, first, stop stage movementin response to detecting the performer's egress and, second, resumestage movement in response to detecting the performer's return. Asanother example, the detected position of a particular prop orinstrument may be used as an indication of how the stage should move. Asstill another example, a performer's on-stage movement may affect thestage movement. For instance, to facilitate a play that includes a scenein which a performer walks between two other scenes, a stage-controlprogram may detect or receive indications of the performers walkingspeed and the time at which they begin walking. In response, the stagemay move to keep the performer in an active area of the stage, whilethey are walking.

Safety and other sensors may include various detection devices andprocessing components. For example, proximity sensors may indicate theposition of a performer or setpiece on the stage and/or indicate that aperformer has moved off the moving performance stage. Proximity sensorsmay also detect any person or thing that is extending over the edge ofthe stage. As another example, pressure sensors in the stage floor mayindicate whether a performer is on or off the stage. Feedback sensingcircuits or devices may indicate whether a speaker or microphone is in abad acoustic location. Various other sensors may be used in an exemplaryembodiment.

As mentioned earlier, some stages may include moving and non-movingportions. For example, the inside half of the stage (the portion of thestage that is closest to the audience) may rotate around the audiencewhile the outside half of the stage remains stationary. In someimplementations, the outside portion may not be movable at all. In otherimplementations, the outside may be separately movable from the insideportion. Other example stage support systems may involve variousindependently movable and/or non-movable portions to support complexstage-movement patterns.

Also mentioned earlier, the described systems and techniques for stagemovement may be used alternatively for audience movement. In such animplementation, the movement of the audience with respect to astationary (or independently moving) stage may be controlled in thevarious ways that are described above with respect to stage movement.

Modes of Use

FIG. 2 shows an overhead view of an example toroidal theater 200,including a toroidal screen 202, a circular stage area 204, an externalenclosure 208, and an audience area. The audience area contains astanding room area 206 directly in front of circular stage 204, andeight GA and VIP seating sections, labeled 2A-2H. Other embodiments maydivide areas in other ways and may include additional seating, aisles,handicapped seating and other non-seating areas. Dotted line 210 dividesstage area 206 roughly in half. In some embodiments, the two halves ofstage 206 may move (or not move) independently of each other.

In some cases, a single theater area may be used simultaneously formultiple functions. In particular, some seating sections (such assections 2A and 2D of FIG. 2) see substantially different portions ofscreen 202 and stage 204. Therefore, a different event could take placein each side of theater 200 without significantly detracting from eitherevent. In some cases, temporary barriers may be erected or moved betweenthe theater sections to visually and acoustically separate the sections.Temporary barriers or separations may include various features, such assoundproofing components (e.g., fiberglass sheets) and/or more or lessdisplay screens depending on the needs of the theater. The separation ofa theater into two equal-sized sections is only exemplary; a theater maybe divided into any number and size of sections for independent use.

I. Using a Rotating Performance Stage

As described above with respect to the design of stage supports, themovement of a performance stage may be controlled in a variety of ways.In addition to controlling the movement and positioning of a stage, thearrangement of performers, audience, and display systems may alsorequire specialized techniques. For example, performers need not beplaced directly together on the stage because different sections of thestage will be visible to different sections of the audience at any giventime. As another example, the distribution of the audience may influencehow the stage movement progresses. As yet another example, the motion ofthe stage may be synchronized with the projected moving images tocompliment them and create a more convincing perception of motion, suchthat the audience feels that it is they (and not the projected images orstage) that are moving.

FIG. 3 shows an example process 300 for use when multiple performers areto be spaced across the stage area. As shown, process 300 involvespositioning the performers around the stage (block 302) and moving thestage so that all the audience sees each of the performers.

In some cases, performers may be spaced evenly around the stage. Forexample, FIG. 4 shows an example arrangement 400 of four musicians(shown as stars, including star 406) of a band that is performing oncircular stage 204 within toroidal screen 202. As shown, each of themembers may be positioned at equal distances from one another to producea square formation with each musician defining a vertex of the square.Any number of stage performers or features may be spaced evenly around arotating stage or at random points. As the stage 204 rotates, differentsections of the audience are able to see different performers. Such anarrangement minimizes the amount of time that a viewer cannot see anyperformer. In other arrangements, performers may be grouped in one ormore groupings. Such an arrangement may allow performers to cooperatewith one another.

Also shown in FIG. 4, clusters of secondary screens (e.g., clusters 408,410, and 412) are included. Such secondary screens may rotate with theperformers on the stage, so that the same set of screens arebehind/beside the same performer throughout a performance or the screensmay rotate or move in a pre-programmed pattern. In one embodiment, thesecondary screens may be clustered together. In another embodiment, thesecondary screens may not form clusters. Screens around or behind aperformer may display images of the other performers on the othersections of the stage, so that an image of each performer is displayedin each group of screens. In other arrangements, the performer that isin front of a screen cluster may not be included in the images, so thatall the performers are seen on any of the sides of the stage, but one ofthe performers is seen live at any time and the other performers aredisplayed on secondary screens (i.e., an image of performer 406 wouldappear on a screen from each of clusters 408, 410, and 412, but not onthe screens behind star 406). In some cases, other display media (e.g.,holographic or Steinmeyer illusion displays) may provide the “images” ofthe other band members. In this way, lifelike virtual band members mayperform alongside one another and one real band member in four placesaround the stage, giving the impression that the full band is in frontof four different audiences.

Although FIG. 4 shows four groupings of four secondary screens each, anynumber of clusters, containing any number of screens may be used. Forexample, four clusters of three screens may be used, or three clustersof six screens. In some cases, the position of the screens may bechangeable. In this way, clusters of screens may be changed to groupdifferent numbers of screens in different ways, or the screens may beunclustered and spread out across the stage area.

Some performances that are not suitable to spacing apart performers(e.g., some plays and musicals, musical groups in which proximity isimportant, dialogs between performers, etc.), may take advantage of theunique stage shape by spacing scenes around the stage. FIG. 5 shows anexample process 500 for using a rotating stage in a narrativeperformance. As shown, process 500 involves positioning performancescenes around the stage (block 502) and moving the stage in accordancewith scene changes in the narrative (block 504).

The scenes may be placed around the stage in various ways. For example,the scenes may be grouped on one side of the stage. Such an arrangementmay all the scenes to be visible to the audience, with one scenecentrally located, indicating the focus of the action. As anotherexample, if a play (or an act of a play) has four main scenes, then thesetpieces and props for each scene may be placed at each of starlocations. Among other advantages, this arrangement would allow a stagecrew to set up all of the scenes before the performance, rather thanchanging sets during scene changes. Additionally, the narrativepresented in a multiple-scene performance may be easier to understandwhen different scenes occupy different physical locations on the stage.

In some embodiments, the movement of the stage may be determined fromthe position of the audience. For example, an operator may inputcomputer code that indicates that only sections 2A and 2B of the theaterare occupied. In response, the system may implement a movement patternthat only presents a view of the live performers to sections 2A and 2B.In some cases, a portion of stage 204 may be visible to all of theaudience members, without needing the stage to move at all. In thatcase, the stage movement may be used to assist in the movement ofprops/sets rather than moving performers. For example, prior toperformance of a play, a crew may organize the set, props, and stagemarkers for each scene in the play in a different section of the movingstage. During the play, the crew can simply turn the stage until theright set is in the active portion of the stage rather than constructingand deconstructing each set during scene changes.

II. Combining Live and Recorded Entertainment

As described above, some theater areas may include live performancestages and live and/or pre-produced visual displays. For some events,the display screens or the performance stages may be used on their own.For example, movies may be shown on the theater screens without usingany stages. Likewise, performance stages may be used for live actswithout using the display screens. Other entertainment events maycombine live performance and displayed images/video.

In some combined events, the screen images may include live video orimages of the performers on the performance stage. For example, thescreens may present images of the stage performers that are not visibleto a section of the audience. In particular, while a performer islocated at star 406 in FIG. 4, the system may determine that theperformer is not visible to viewers in sections 2A-2F and, in responseto the determination, the system may display video of the performer onportions of screen 202 that are visible to sections 2A-2F. Then, whenthe performer moves into view to the audience in sections 2A-2F, thesystem may detect this movement and responsively change the video ofthis performer to a video of a performer who is no longer visible insections 2A-2F. In other arrangements, videos displayed on screen 202may rotate in accordance with the movements of the stage. In this way,videos of each performer are presented to the audience while theperformer is not in view. In still other arrangements, the system or alive director may select which videos to show based on criteria otherthan the movement of performers. For example, screen 202 may presentvideos of each performer at all times, regardless of the position of theperformer. As another example, the system may switch between video feedsin accordance with preset timings or on-stage cues (e.g., detect guitarsolo from a sound signal and responsively switch to video of guitarist.)This live performance footage can also be intercut in real time withprerecorded purpose-shot content (i.e., live and pre-produced content isshown simultaneously and/or separately at various intervals throughoutthe performance).

In some embodiments, action on the stage may affect or add to thedisplayed images. For example, images that are presented as a backgroundfor certain scenes in a performance may change when the scene of theperformance changes. In other embodiments, on-stage actions may notdirectly affect or add to the displayed images. For example, screen 202may present a background image or video simply as a backdrop for stageperformers. As another example, the live performance may be designed tocoincide with displayed images, but the images may be controlledindependently of the on-stage action. One example of a designedcoordination between live performance and video displays is alive-scored movie presentation, in which live performers provide themusical accompaniment to a movie presentation.

As yet another example, projected moving images can be combined withlive action on stage to meld live performers with a virtual setting(i.e., certain movements (say, a fight sequence) can be choreographed.Camera moves can also be choreographed to capture performers rehearsingthat sequence. The scene can then be filmed with the choreographedcamera moves, but without the actors in frame. When the film isexhibited, live performers can then recreate the same choreography liveon stage, and it should create the net effect of the live actor actuallybeing present in the virtual environment.

CONCLUSION

The construction and arrangement of the elements of the systems andmethods as shown in the exemplary embodiments are illustrative only.Although only a few embodiments of the present disclosure have beendescribed in detail, those skilled in the art who review this disclosurewill readily appreciate that many modifications or alterations arepossible over the course of each construction (e.g., variations insizes, dimensions, structures, shapes and proportions of the variouselements, values of parameters, mounting arrangements, use of materials,orientations, etc.) especially when components are built tospecifications, without materially departing from the novel teachingsand advantages of the subject matter recited. For example, elementsshown as integrally formed may be constructed of multiple parts orelements, with slight or major modifications but not modifications inoverall principals or strategies. The elements and assemblies may beconstructed from any of a wide variety of materials that providesufficient strength or durability, in any of a wide variety of colors,textures, and combinations. Additionally, in the subject description,the word “exemplary” is used to mean serving as an example, instance orillustration. Any embodiment or design described herein as “exemplary”is not necessarily to be construed as preferred or advantageous overother embodiments or designs. Rather, use of the word exemplary isintended to present concepts in a concrete manner. Accordingly, all suchmodifications are intended to be included within the scope of thepresent disclosure. The order or sequence of any process or method stepsmay be varied or re-sequenced according to alternative embodiments. Anymeans-plus-function clause is intended to cover the structures describedherein as performing the recited function and not only structuralequivalents but also equivalent structures. Other substitutions,modifications, changes, and omissions may be made in the overall design,operating conditions, and arrangement of the preferred and otherexemplary embodiments without departing from the actual scope (orbaseline ideas, thoughts, principals, etc.) of the present disclosure orfrom the scope of the appended claims.

Although the figures show a specific order of method steps, the order ofthe steps may differ from what is depicted, especially in theconstruction process of the various elements within. Also, two or moresteps may be performed concurrently or with partial concurrence. Suchvariation will depend on the software and hardware systems chosen and ondesigner choice. All such variations are within the scope of thedisclosure. Likewise, software implementations could be accomplishedwith standard programming techniques with rule based logic and otherlogic to accomplish the various connection steps, processing steps,comparison steps and decision steps.

1. A performance stage comprising: at least one performance platformencircling an audience-area; support structures capable of providingmechanical support for the performance platform; and a movementmechanism movably coupling the support structure and the performanceplatform, wherein the movement mechanism is operable to move theperformance platform around the audience.
 2. The performance stage ofclaim 1, wherein the performance platform is substantially ring-shapedand wherein the movement mechanism is operable to move the performanceplatform in a circular pattern around the audience area.
 3. Theperformance stage of claim 1, wherein the performance platform comprisesa first platform section and a second platform section, wherein thefirst platform section is independently moveable with respect to thesecond platform section.
 4. The performance stage of claim 3, whereinthe first platform section and the second platform section are annularin shape and positioned concentrically, and wherein the second platformsection is positioned radially outside of the first platform section. 5.The performance stage of claim 3, wherein the second platform section issubstantially motionless in use.
 6. The performance stage of claim 3,further comprising sliding electrical contacts capable of transferringelectrical power from the support structure to the performance platformduring movement of the performance platform relative to the supportstructures.
 7. The performance platform of claim 1, further comprisingsensor controls configured to determine a proximity of a performer to anedge of the performance platform, wherein the movement mechanism isconfigured to: receive, from the sensor controls, warning signalsindicative of the determined proximity of the performer to the edgebeing less than a predefined threshold; and in response to the receivedwarning signals, reducing the movement of the performance platformrelative to the environment beyond the edge of the performance platform.8. The performance stage of claim 6, wherein reducing the movement ofthe performance platform comprises stopping all movement of theperformance platform.
 9. The performance stage of claim 6, wherein thesensor controls are configured to send any of a plurality of warningsignals to the movement mechanism, wherein each of the plurality ofwarning signals is indicative of a different proximity of the performerto the edge, and wherein the movement mechanism is configured to reducethe stage to any of varying speeds in accordance with the proximity withwhich the warning signals are associated.
 10. The performance stage ofclaim 1, further comprising display screens mounted on the performanceplatform.
 11. The performance stage of claim 9, wherein the displayscreens are mounted onto a moveable portion of the performance platform.12. The performance stage of claim 9, wherein the display screenscomprise mechanically controllable mountings.
 13. A theater areacomprising: at least one audience-platform; one or more performancestages substantially encircling the at least one audience platform,wherein the at least one audience platform is movable in a circularfashion with respect to the performance stages; and an audience-seatingarea on the at least one audience-platform.
 14. A method of using aperformance stage that is moveable around an audience-area, the methodcomprising: positioning performance elements in different areas of theperformance stage such that visibility of each performance elementvaries based on location in the audience-area; moving the performancestage in a movement pattern around the audience-area, wherein themovement pattern causes each respective performance element to besequentially (a) optimally observable to a portion of the audience-areaat a respective time and (b) substantially non-observable to the portionof the audience area at another time.
 15. The method of claim 13,wherein the movement pattern is substantially circular around anoutward-facing audience-area.
 16. The method of claim 13, wherein theperformance elements are performers in a performance group and whereinat least two of the performers are performing at the same time.
 17. Themethod of claim 15, further comprising: displaying, on at least onesecondary screen adjacent to a first performer, a real-time video of asecond performer from the performance group; and moving the displayedvideo in accordance with movements of the first performer.
 18. Themethod of claim 16, wherein moving the displayed video comprises movingthe secondary screen upon which the video is displayed in unison withthe first performer.
 19. The method of claim 16, wherein the secondaryscreen comprises a holographic display apparatus configured to displaythe second performer in life-size at a position on the rotatingperformance stage.
 20. The method of claim 13, wherein the performanceelements are scenes in a narrative performance, and wherein the scenesthe method comprising moving the scenes in accordance with scene changesin the narrative performance.